Castor, Enclave 1, 50 Resolution Way, London, SE8 4AL

Alan Magee: Data Dust, Dust Data

Celestial Machines Drop ceiling, Light panel, Screen, Video, Robotic arm, Arduino, Raspberry pi and Circuitry 130 x 130 x 95cm, 2019

Upon entering ‘Data Dust, Dust Data’, Alan Magee’s second exhibition at Castor Projects, the visitor is immediately confronted by two contrasting artworks: go left towards a hanging, high-tech exhibit that includes a tangle of wires and exposed circuitry and a motionless robotic arm, or right towards a chest-height, curvilinear plinth topped with black foam and displaying a dozen small, pinkish objects. Review by Rebecca Morrill

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Temple Bar Gallery + Studios, 5-9 Temple Bar, Dublin, Ireland

staring forms: Miranda Blennerhassett, Aleana Egan, Andreas Kindler von Knobloch, Tanad Williams

staring forms, installation image, Temple Bar Gallery + Studios.

Mid-way through ‘A Game of Chess’, the second section of T. S. Eliot’s 1922 poem ‘The Waste Land’, come the words that have lent themselves to the title of ‘staring forms’, a new group exhibition in Dublin’s Temple Bar Gallery + Studios. In these lines Eliot references the ancient (and violent) Greek myth of King Tereus and the sisters Philomela and Procne, all three of whom were turned into birds by the gods. Review by Aidan Kelly Murphy

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TACO!, 30 Poplar Place, Thamesmead, London SE28 8BA

Joe Cheetham: Can You Feel It?

Joe Cheetham: Can You Feel It?, installation view, TACO!

The current exhibition ‘Can You Feel It?’ explores the polaric feelings of euphoria and loss which surround 90s rave culture and its legacy. Artist Joe Cheetham, known primarily for his works on canvas, has here created a gallery-spanning wall mural which depicts a number of beano-on-ecstasy style cartoon characters, straight from the pages of Viz magazine. Review by Amy Jones

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Upfor Gallery, 929 NW Flanders St, Portland, OR 97209, USA

Heidi Schwegler and Quayola: Plane of Scattered Pasts

Athazagoraphobia

In ‘Plane of Scattered Pasts’ at Upfor Gallery in Portland, Oregon, artists Heidi Schwegler and Quayola explore object histories and the fragmentation process with sculptural works and video. Schwegler amends, recasts, and highlights aged objects to reframe their value. Quayola’s video piece ‘Strata #1’ (2008) invigorates the exhibition with immersive sound and vivid colour. While the show focuses on the fragmented form, ‘Plane of Scattered Pasts’ is conceptually complete. Review by Lindsay Costello

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Kiran Nadar Museum of Art, No. 145, DLF South Court Mall, Shaheed Pankaj Juyal Marg, Saket District Centre, Saket, New Delhi, Delhi 110017, India

Arpita Singh: Six Decades of Painting

Whatever is Here

The Kiran Nadar Museum of Arts presents the first ever retrospective of one of India’s most significant female artists, Arpita Singh. Review by Pranamita Borgohain

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Gasworks, 155 Vauxhall Street, London SE11 5RH

Pedro Neves Marques: It Bites Back

Pedro Neves Marques, It Bites Back, 2019 (featuring music by HAUT). Exhibition view at Gasworks, London.

Through the in-depth analysis of virus warfare and the rising number of actions against queer bodies around the globe, the exhibition ‘It Bites Back’ draws on distinguishing power agents, such as hormones and fluids, as symbols for forces that reign in our everyday lives and which define the 21st century’s approach to biopolitics. Review by Alexandra Gamrot

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Glenfeshie, Cairngorms National Park

Simone Kenyon: Into the Mountain

 Mountain: Into The Mountain

High in the Cairngorm Mountains, a remarkable artwork was performed over four days. ‘Into the Mountain’ is a unique response to ‘The Living Mountain’ (1977) by Nan Shepherd, a lyrical text describing a sensuous exploration of the Cairngorms. Through a rich fusion of dance, music, literature and walking, the performances invited audiences to explore more-than human connections with mountain environments and ecologies. Review by Anna Fleming

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Kettle's Yard, Castle Street, Cambridge, CB3 0AQ

Oscar Murillo: Violent Amnesia

Oscar Murillo, Violent Amnesia, 2019. Kettle’s Yard, University of Cambridge

“No man is an island, entire of itself; every man is a piece of the continent, a part of the main.” Oscar Murillo’s current exhibition at Kettle’s Yard starts with these words by John Donne. This quote is a testimony of the artist’s mourning for his friend, Nigerian curator and unique contributor to the art world, Okwui Enwezor, who died earlier this year. But it makes me think that if Murillo were an island, he would have been a floating island. Review by Gulnaz Can

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Denmark Pavilion, Giardini, Venice, Italy

Venice Biennale 2019: Larissa Sansour: Heirloom

Larissa Sansour and Søren Lind. Installation view of In Vitro, 2-channel black and white film. 27 mins 44 secs, 2019.

Danish-Palestinian artist Larissa Sansour’s project for the Danish Pavilion at this year’s Venice Biennale is comprised of two key elements: a sculptural installation comprising a large, dark orb; and a science-fiction film titled’ In Vitro’, depicting the relationship between two women after an ecological disaster has driven them to live underground. Review by Anna Souter

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Copperfield Gallery, 6 Copperfield Street, London SE1 0EP

Alba Folgado in conversation with Marco Godoy

Marco Godoy: My we, your we, our we. Installation view at Copperfield, London

Alba Folgado speaks to artist Marco Godoy about his exhibition My we, your we, our we at Copperfield Gallery. His interest in the complexity of power relationships and the mechanisms that are used to perpetuate social divisions are made evident through the different works that one finds in the space.

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Chisenhale Gallery, 64 Chisenhale Rd, London E3 5QZ

Mandy El-Sayegh: Cite Your Sources

Mandy El-Sayegh, Cite Your Sources (2019). Installation view, Chisenhale Gallery, 2019.

Verbal language dominates and hits you like a wave; pages from the Financial Times are pasted up the gallery walls and underfoot; silk-screened advertising copy, schematics and Arabic calligraphy are layered on top of maps, passport-photocopies, grids and each other. Review by India Nielsen

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Garage Museum of Contemporary Art, Krymsky Val, 9 строение 32, Moskva, Russia, 119049

Pavel Pepperstein: The Human as a Frame for the Landscape

Pavel Pepperstein, The Human as a Frame for the Landscape, installation view, Garage Museum of Contemporary Art, Moscow, 2019

The work of Pavel Pepperstein is, to western audiences, often impenetrable — not least because it often relies upon references to in-jokes and Russian-Language text. Pepperstein is interested in exploding-out historical moments and psychedelic experiences and picking through the debris. He’s called it “the spiritual backstage”. Review by Lucy Holt

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